August 13, 2014
Lygia Clark, Diálogo de Óculos, 1968. Via. More.
—
Quand nous disons “en nous”, et quand nous parlons si facilement et si douloureusement de dedans et dehors, nous nommons l’espace, nous disons une visibilité du corps, une géométrie des regards, une orientation des perspectives. Nous parlons d’images… L’autre n’apparaît que, précisément, comme le disparu, celui qui, disparu, ne laisse “en nous” que des images.
Jacques Derrida, Chaque fois unique, la fin du monde, éd. Galilée, 2003. Via.

Lygia Clark, Diálogo de Óculos, 1968. Via. More.

Quand nous disons “en nous”, et quand nous parlons si facilement et si douloureusement de dedans et dehors, nous nommons l’espace, nous disons une visibilité du corps, une géométrie des regards, une orientation des perspectives. Nous parlons d’images… L’autre n’apparaît que, précisément, comme le disparu, celui qui, disparu, ne laisse “en nous” que des images.

Jacques Derrida, Chaque fois unique, la fin du monde, éd. Galilée, 2003. Via.

(via floresenelatico)

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Filed under: quotes 
August 11, 2014
Fette Sans, Untitled, 2014.
The moon is following you, I’ve asked her.

Fette Sans, Untitled, 2014.

The moon is following you, I’ve asked her.

August 11, 2014
Fette Sans, Untitled, 2014.

Fette Sans, Untitled, 2014.

August 11, 2014
Teach me how to talk to you. WANT. Is my wanting you so bad, wanting your cock so bad, wanting the feel of your lips on my lips just me being selfish and egoistic? Teach me a new language.

Kathy Acker, from Blood and Guts in High School,1978. Via.

And this interview from 1983 in BOMB Magazine #6 is sumptuous.

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Filed under: linked excerpts 
August 11, 2014
Fette Sans, from the series I am afraid you could have been misled, 2014.

Fette Sans, from the series I am afraid you could have been misled, 2014.

August 11, 2014
Fette Sans, Untitled [1616], 2014.
Night light laptop light jalousie light. The memories of conversations are made of low resolution screenshots.

Fette Sans, Untitled [1616], 2014.

Night light laptop light jalousie light. The memories of conversations are made of low resolution screenshots.

August 10, 2014
Left, Vija Celmins, Divided Sky, 2010, Mezzotint on paper, 300 x 210 mm.  Via. Right, photograph by Zdzisław Beksiński, Study for the Sadist’s Corset 3, 1957. Via.
Full moon sans werewolf, with clouds.
—
Poetry leads to the same place as all forms of eroticism — to the blending and fusion of separate objects. It leads us to eternity, it leads us to death, and through death to continuity. Poetry is eternity; the sun matched with the sea.
Georges Bataille, from Death and Sensuality, 1962. Via.

Left, Vija Celmins, Divided Sky, 2010, Mezzotint on paper, 300 x 210 mm. Via. Right, photograph by Zdzisław Beksiński, Study for the Sadist’s Corset 3, 1957. Via.

Full moon sans werewolf, with clouds.

Poetry leads to the same place as all forms of eroticism — to the blending and fusion of separate objects. It leads us to eternity, it leads us to death, and through death to continuity. Poetry is eternity; the sun matched with the sea.

Georges Bataille, from Death and Sensuality, 1962. Via.

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Filed under: diptych quotes 
August 9, 2014
Top, photograph by Ute Klein, #8, 2009, from the series Resonanzgeflechte. Via. Bottom, screen capture from Yolanda, directed by George Kuchar, 1981. Via.
—
Of course, she made me feel all clumsy and awkward. I had the same feeling I did when I had watched an imago emerge, and then to have to kill it. I mean, the beauty confuses you, you don’t know what you want to do anymore, what you should do.
John Fowles, The Collector, 1963.

Top, photograph by Ute Klein, #8, 2009, from the series Resonanzgeflechte. Via. Bottom, screen capture from Yolanda, directed by George Kuchar, 1981. Via.

Of course, she made me feel all clumsy and awkward. I had the same feeling I did when I had watched an imago emerge, and then to have to kill it. I mean, the beauty confuses you, you don’t know what you want to do anymore, what you should do.

John Fowles, The Collector, 1963.

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Filed under: diptych quotes 
August 6, 2014

Fette Sans, La Reprise, 2013.

Made July 26, one year ago. Now, watch #67.

July 30, 2014
ADULT is not “for women.” It’s just not for men. You can’t make porn for a gender; you can hardly make porn for a sexual orientation. The female gaze doesn’t exist, unless it’s specifically the lesbian female gaze – and our staff is mostly not lesbian. In any case, why should there be a female gaze? Why do we mistake inversion for subversion? To paraphrase Audre Lorde, the master makes tools of us all. And what the actual fuck is “sex-positivity”, besides the stupidest classification since “pro-life?” The old Americans are always picking one side of a perfect circle; our magazine isn’t for them.

Sarah Nicole Prickett on behalf of ADULT for Dazed, The United Nations of Erotics, July 2014.

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Filed under: linked excerpts 
July 30, 2014
aleskot:

Me, by Fette Sans, October 2012, Downtown Los Angeles, backseat of a convertible belonging to J., the music most likely Wild Nothing, the sun bright with hints of early Los Angeles Autumn, which is Summer in many other places. 

aleskot:

Me, by Fette Sans, October 2012, Downtown Los Angeles, backseat of a convertible belonging to J., the music most likely Wild Nothing, the sun bright with hints of early Los Angeles Autumn, which is Summer in many other places. 

July 29, 2014

Frank Hauschildt and Fette Sans, Du bist Agatha, ich bin Ulrich, 2014, found objects, sound, perfume, dimensions variable. Installation shots (night and morning after) at ainsA, Berlin.

I’ve pulled down my lace and the chintz.

Where are we?
In a bedroom, for example.
Could it be some other place?
Yes. It is up to the viewer to choose.
Don’t we ever know what time it is?
No, it is either nighttime or daytime.
What’s the weather like?
It’s a cold summer.
Is there anything sentimental about it?
No.
Anything intellectual?
Perhaps.
Are there any bit players?
They have been eliminated. The word ‘room’ is said, and that ought to be enough to represent a bedroom.
Is it a fictitious story?
Yes, very much so.
Is it mentioned that they are siblings?
No.
Are there any traces of them?
They are barely there. The traces are within the room. Meaning is carried when entering the room. It depends on the viewer to foresee.
What else?
The destruction of memory.
What else?
The destruction of judgment.
What about the music?
It is also a broken memory, playing on repeat.

July 29, 2014
Top, photograph by Mark Peckmezian, Untitled, 2014. Via. Bottom, screen capture from L’ange, directed by Patrick Bokanowski, 1982. Via.
—
As she talked she began to disappear. He watched her go; it was amazing. Gloria in her measured way, talked herself out of existence word by word. It was rationality at the service of - well, he thought, at the service of non-being. Her mind had become one great, expert eraser.
Philip K. Dick, from Valis, 1981.

Top, photograph by Mark Peckmezian, Untitled, 2014. Via. Bottom, screen capture from L’ange, directed by Patrick Bokanowski, 1982. Via.

As she talked she began to disappear. He watched her go; it was amazing. Gloria in her measured way, talked herself out of existence word by word. It was rationality at the service of - well, he thought, at the service of non-being. Her mind had become one great, expert eraser.

Philip K. Dick, from Valis, 1981.

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Filed under: diptych quotes